Manga two words originated in Japan, the initial use of the word "manga" two words called Katsushika Hokusai, who was in the Tokugawa era, about the beginning of China's Qing Dynasty, more than 300 years ago. "Hokusai" manga for the founder of manga.

In May 1925, Literature Weekly serialized Feng Zikai's drawings and noted them as manga, which was the first work to be called manga in China.

Western comics originated in England, and the 19th-century French painter Dumier made the finest achievement in the history of Western comics.

As a branch of the art of painting, cartooning has evolved into three forms, namely, the traditional cartoon with satirical humor, the narrative multi-panel or serial cartoon, and the exploratory vanguard cartoon.

The traditional caricature of satire and humor is what we usually see.

Cartoon comics are comic strips that draw on cartoon techniques and styles.

Pioneer comics - there is still no clear definition in the international arena, generally refers to between the traditional humor of traditional comics, narrative multi-panel or serial cartoon comics, exploratory pioneer comics.

The fringe art form between comics and avant-garde art, or a new genre of comics catalyzed by contemporary avant-garde art, emphasizing the exploratory function of values and aesthetic orientation, and "subversive" to traditional comics.

Searching for the origin, comics have marked its noble artistic lineage since the day of its birth. According to historical records, as early as in the fifteenth century, some exaggerated and deformed characters appeared in paintings in Europe. According to historical records, some exaggerated and deformed figures appeared in paintings as early as the fifteenth century in Europe. The famous Italian Renaissance painter Leonardo da Vinci and the British industrial revolution painter William Hogarth in their sketches. Hogarth in their sketches and oil paintings frequently appear some exaggerated deformation of character modeling, especially Hogarth's masterpieces "dozing parishioners", "fashionable marriage", "character and caricature" and so on, marking the formation of the modern Western caricature. Thomas Rowlandson, the father of modern cartooning, is also known as the father of modern cartooning. Rowlandson. Although he was greatly influenced by Hogarth, but in the character modeling as well as the intention of more modern awareness of the characteristics of the caricature, laid the style of modern Western comics.

Perhaps it was the exaggerated and distorted character of caricature, as well as the metaphorical nature of the caricature, that made it a sharp weapon in the struggle between sects in its infancy, where blood was not seen in the blade. With the rise of the bourgeoisie, it took on the important task of political sectarian struggle. With the continuous development of society, satirical cartoons could no longer satisfy people's spiritual needs, and cartoons gradually expanded to diversification. Although cartoonists have continued to use their sharp brushes to criticize the ills of the times since the 20th century, with the arrival of the personalized society, as people pay more and more attention to their own lives and feelings of experience, the cartoons, which used to be the tools of political struggles, have developed into humorous paintings with humane characteristics, which are more closely related to the daily lives of ordinary people, and at the same time, the cartoons continue to give rise to cartoon artworks with different styles and connotations, so that the cartoons win At the same time, caricatures continue to give rise to different styles and connotations of caricature artworks, thus enabling caricatures to win more room for development. It is in this sense that when we refer to modern caricatures, we are to a large extent not only referring to political satire caricatures. From a historical point of view, it should be said that satirical caricature is the originator of the development of contemporary caricature.

The seventeenth century in Europe, in the background of the industrial revolution in England, a group of excellent cartoonists built up the golden age of modern cartooning in England, and gave birth to the great satirical cartoonist William Hogarth. Hogarth. To the second half of the nineteenth century, some European metropolises have created the publication of cartoon magazines, cartoonists are increasingly frequent exchanges between them, they use satirical and humorous paintings to depict urban life as well as for the public to vent their hearts, y people's favorite. 1841, London, England, "Punch" (Punch) satirical magazines were founded in the nineteenth century in Europe, set off a wave of criticism, and the trend quickly swept across the world. the whole world, and China and Japan were also infected with the craze.

Since comics are influenced by western humanitarian thought and the spirit of humanism and science, they are human-centered and concerned with human nature. In order to satisfy people's spiritual needs, various types of comics broke ground as if they were springing up, and this period saw the emergence of humor comics, multi-panel comics, long serial comics and so on. As for the successful commercial operation of comics, Japan and the United States in the twentieth century, comics have become the pillar industry of these two countries. They put the nineteenth century a unique comics founder of the United Kingdom far behind, and create a new era of modern comics.

What are the attributes of comics? Caricature is a visual art, and other paintings have the same ****, however, it is not exactly the same as other paintings, and it is fundamentally different from other paintings in that it puts forward views on things and comments on them, and also has the characteristics of humor. Therefore, satire and humor constitute the most basic attributes of comics, and the art of comics is the art of satire and humor, as well as the art of reverse thinking.

(1) The budding period: 1945-1949, with Chen Bing-huang and the members of the New Gao Cartoon Group who published the monthly magazine Xinxin The four editors Chen Jia-peng, Wang Hua, Ye Hong-jia, Hong Chao-ming, and the writers of the cartoon columns: including the pen names of Chen Ting-kuo, Liang Zi-yi, and Hua Wang-er can be referred to as Taiwan's local first-generation cartoonists, and the masterpieces of the period also include: Cartoonist Dynasty Zong created the "Water Margin" for the first serialized cartoon one-volume book after the restoration of Taiwan. 1949 after the February 28th incident, Taiwan cartoons were also silent.

(2) Prosperous period: 1946-1960, the former cartoonists who moved to Taiwan with the Central Government of the Kuomintang, such as Liang Yiming and Liang Zhongming, brought various kinds of cartoons, and also started the first cross-strait cartoon exchanges. During this period, the Central Daily News, the New Life Newspaper, and the Rizhixin Newspaper provided a large number of newspaper caricatures commenting on current affairs in their respective pages: political cartoonists such as Zhu Xiaoqiu, Lu Qingxiang, Youxin, Yawen, Binren, and Ma De's drawings reflected the social background of the time. In addition, Zhang Youwei's four-panel unit "History of Liu Lang's Struggle" was autobiographical, Liao Weilin's "Biography of Mr. Mimi," Niu's "Little Sister Niu," and Chen Bow's "A-hua" were representative of children's cartoons at the time. As for the popular comic strips such as Chen Haihong's The Little Warrior Tornado, Yeh Hongjia's Zhuge Si Lang, Chen Dingguo's Lv Sinniang, Liu Xingqin's Ah Sange, and Dajiaobo, the golden age of comic strips was created in an unprecedented period of time. The cartoonists born in the later part of this era included Lin Wenyi, Hong Yinan, Xu Songshan, You Longhui, and Yang Jinshi, who continued to promote the creation of children's cartoons.

(3) The Period of Mourning and Decadence: From 1961 to 1981, as the comic book editions of the Central and New Life Newspapers ceased publication one after another in 1952, the trend of reprinting foreign comics replaced the local review comics. Although this introduced an international view of comics in Taiwan, it also indirectly affected the creative field of local comics publication. In addition, the National Compilation and Translation Center's 1963 cartoon censorship system has been most criticized and disputed by previous generations of cartoonists, especially with regard to pirated Japanese cartoons and envious cultural transplants and market orientation, and even the impact on culture and education, which has been the biggest worry for quality cartoons to this day.

(4) Transitional Period: 1974-1982, the main features of this period were the handling of cartoon promotion activities and international exchanges of cartoon culture. The former was exemplified by the Contemporary Chinese Cartoon Exhibition organized by the Taipei City News Office in 1974, in which as many as eighty-nine cartoonists took part and as many as one hundred and fifty thousand people viewed the exhibition. In 1986, the Chinese Cartoonists Association accepted the recommendation of the Asian Society of America to organize a one-month visit to the United States for cartoon exchanges, and in 1987, the Information Bureau of the Executive Yuan sponsored the Cousin Li and International Cartoon Contest, which opened up a precedent for domestic and international exchanges among cartoonists. It is worth noting that cartoon periodicals of this period, such as Cartoon Theater, Crown Cartoon Weekly, Joyful Cartoon Semi-Monthly, Burger Cartoon, and Cartoon Jaguar, all provided local cartoonists with a lot of publication space in the form of columns or comic strips. Cartoonists who published children's comics during this period, such as Qiu Ruoshan, Qiu Ruolong, Sun Jiayu, Ao Youxiang, Mai Renjie, Hong Delin, Liu Xingqin, Zheng Yaling, Liu Zongming, Wang Jinxuan, Wang Ping, and Wang Jinxuan, had already made a name for themselves.

(5) Mature Period: (1983-) The main features of this period include the diversification of comics and the popularity of comic strips, the study of comics theory, the training and rewarding of comics talents, and an international outlook, while the Taipei City Library, established in 1998, was the first public **** library to feature comics in its collection.

Overview of the History of Japanese Manga

Japan is a big country for manga, from the birth of the first Japanese manga to the present, the circulation of manga magazines and one-volume books accounts for 45% of the total circulation of magazines and books, which includes a variety of subjects, such as science fiction, adventure, politics, economics, love, sports, history, science, religion, humor and jokes, literary novels, strange stories, and documentary reportage, etc. Manga has become a part of the daily life of the Japanese people. Manga has become an indispensable cultural leisure in the daily life of Japanese citizens.

From the time the first Japanese manga was introduced into China, Chinese readers began to come into contact with Japanese manga, and began to be y attracted by its delicate style of drawing, exaggerated but not losing the sense of beauty of the modeling, unique subplot and excellent story content. Since then, the Japanese manga industry has been divided into many different genres according to their expression and story content, and many excellent manga masters have been born in different fields.

-The Era of Creation-

The Japanese manga industry has always regarded the 12th-century Toba monk Masakado Judah (1053-1140), whose "Bird and Beast Pictures" are listed by the Japanese government as one of the four national treasures, as the 12th century witnessed the popularity of ekiben, and a variety of ekiben were created, forming a unique form of Japanese painting. At the beginning of the Edo period in the 17th century, the slender Toba Ei (a school of painting with the name of Toba Monk Sho as its title) painted by the artists of Kyoto and Osaka succeeded in creating the ukiyo-e style of the new era. 1760, Katsushika Hokusai, the famous ukiyo-e artist of Japan, firstly used the word "manga" for his paintings, and his Hokusai Manga was famous all over the world, and even brought shock to the painting world of Europe. world and even brought shock to the European painting world.

In 1861, British cartoonist Charles Waggoman traveled to Japan to work as a cartoonist for London's London Manga. Waggoman traveled to Japan as a special correspondent for the London Graphic News. The following year, he started a 10-page or so cartoon journal, The Japanese Clumsy. This publication, which focused on current affairs and customary cartoons, made a considerable impact on the Japanese cartooning scene. 21 years later, the French cartoonist Giorgio Biago published a book during his travels in Japan, called Nihon Bunko. During his stay in Japan, the French cartoonist Giorugi Bigo published "Duan Duan Jhenxin", the satirical collection "TOBAE", and other magazines. These two European cartoonists contributed greatly to the revolution of Japanese manga, and their styles influenced the new generation of Japanese cartoonists.

-New Manga of the Meiji Restoration-

In 1900, "Funny Shimbun", "Tokyo Puke", "Toki Manga", and "Osaka Funny Shimbun" were launched, and these new manga, which imitated Western-style manga with their critical tone, sense of humor, and styling, contributed to the manga fashions of the time. During the Meiji period (1870-1911), modern Japanese manga began to emerge, and the famous Kitazawa Rakuten established modern Japanese manga on the basis of his predecessors. in 1906, Kitazawa founded the first Japanese manga publication, "Tokyo Pixie," the birth of which marked the beginning of modern manga in Japan. During the Taisho period (1912-1925), master manga artist Kazuhei Okamoto created the first story manga and became famous. From that time on, story manga became popular, and in 1912, 10 manga artists, with Okamoto at the center, established the Tokyo Manga Association, which held its first manga exhibition in 1915. Since then, exhibitions have been held once or twice a year on average. The Japanese manga industry in the Taisho era was very active under their leadership.

-Humor and Idols-

In 1923, Japan's first manga idol was born. He was a character in "Masaru's Adventure" published by Katsuichi Birashima in the Nikkan Asahi Club. A year later, master manga artist Yutaka Aso created a sensation with his humorous full-length manga "Dad Who Doesn't Care," which appeared in the newspaper Kyochi Shimbun, and was a great source of encouragement for the people who had experienced the Great Tokyo Earthquake. As a result, humorous manga began to appear in newspapers and magazines in large numbers. Because of its high popularity, more and more cartoonists began to devote themselves to the creation of this type of manga, and the lineup of humor manga began to grow.

In 1924, when Matsutaro Masatoshi took over as the new president of the Yomiuri Shimbun, he set up a manga department to challenge the new market and gain more readers, recruiting Toyo Aso, Au-Ten Shimokawa, Zuoyuki Mitsudo, Hanzan Tsutsumi, Masamune Yanase and others, and in October of the same year, he released a four-page color supplement. By the early Showa years (1925), the popularity of manga had reached its zenith, and serialized manga had gradually become a new model for the Japanese manga industry.

After 1925, the Sakazuki and Proletarian Schools began to emerge, and their styles of drawing and storytelling became a major feature of the manga industry at the time. 1926-1936 saw the beginning of a boom in juvenile manga. Tanigawa Blister's The Black Tramp and Shimada Keizo's The Adventures of Aoshi became classics that were eagerly passed down by teenagers all over Japan. And Ryuichi Yokoyama's "Young Master Ken" and "Little Alfred" not only gained popularity among teenagers, but also attracted a large number of adults to flip through them.

With the growth of manga creators came an era of manga reorganization and the formation of groups of manga artists; in 1932, 20 of them, including the manga artists who created Manga Man, such as Hinodezo Kondo, Yukio Sugiura, and Ryuichi Yokoyama, established the New Manga School Group. As a result, many like-minded manga artists began to form groups, and the Japanese manga industry blossomed.

-New Manga Era-

In 1945, the number of manga publications began to decline due to a lack of paper. From 1946 to 1950, the new post-war values disrupted the previous tradition and order, and a variety of manga came into being as a result. At this time, there was a master of Japanese manga who would have a profound impact on the future of Japanese comics: Osamu Tezuka. Osamu Tezuka's 1946 book Shin-Hojima was the first step in making Japanese manga into a modern, mainstream image-based manga. His use of cinematography in manga revolutionized the way manga was portrayed.

In 1947, Manga Shonen was launched, a juvenile manga publication that has become the cradle of today's manga giants. Some of the authors who have published in this publication include Fujiko F. Fujio, Fujiko Fujio A, Ishimori Shotaro, Akatsuka Fujio, Matsumoto Zerushi, and Tezuka Osamu.

Juvenile manga began to grow rapidly in 1949 with the launch of Shueisha's weekly magazine Shonen JUMP. To this day, Shonen JUMP is one of the giants of the Japanese manga industry in terms of producing great comics. During this period, Shigeru Sugiura's dystopian manga and Taizo Yokoyama's social commentary manga broadened the genre of manga. Three of Osamu Tezuka's early outstanding science fiction works, "Anterior Century", "Metropolis" and "Future World", also appeared at this time. In addition, Sōji Yamakawa's The Young King and Teiji Fukushima's The Demon King of the Desert further rounded out the manga genre.

-The Anime Era-

The 1950s saw the gradual recovery of Japan from the chaos of the post-war years, and Japanese manga began to develop even further.1959 saw the launch of weekly magazines such as Kodansha's weekly Shonen Magazine and Shogakukan's weekly Shonen SUNDAY. In the same year, the Tokyo Television Tower was built, and television began to influence the growth of young people in the new era.

With the rapid advancement of television entertainment, many popular manga works were adapted into anime, and the success of the animation also promoted the development of manga, and to this day, animation and manga in Japan are inseparable from each other. A great manga is bound to be animated, and a hit anime will find a manga artist to draw the manga for it.

-Rapid Development-

1965-1975 was a decade of rapid development for Japanese manga in Japan. A variety of different types of manga began to be formally delineated, and a variety of magazines suitable for different types of manga were created. Major magazines began to publish manga magazines for elementary and middle school students, high school students, college students, and even members of society from all walks of life, and manga began to attract the attention of society.

In 1964, the Manga Artists Association of Japan (M.A.A.J.) came into being as a result of a strong appeal by the central figure of the "New Manga School Group," Kondo Hinodezo, and others. The purpose of the Japan Cartoonists Association is to protect the rights and interests of the members of the Association and to contribute to culture, and in 1972, the Japan Cartoonists Association Award was formally established, and was regarded as the most authoritative award. As a result, various manga awards began to appear in the Japanese manga industry, such as the Bungeishunju Manga Award, the Shogakukan Manga Award, the Kodansha Manga Award, the Yomiuri International Manga Award, and the Yomiuri International Manga Award, "Yomiuri International Manga Award", "Tezuka Award", "Akatsuka Award", "Fujiko Fujio Award" and so on.

From the mid-1960s to the mid-1970s, the quality of Japanese manga improved dramatically as a number of fiction writers joined in the creation of manga scripts. And shoujo girls' manga also began to show an upward trend. Famous girls' manga artists of this period include Tomoko Nakamitsu, Chieko Hosokawa, Nishitani Look, Eiko Mizuno, and so on. Their works opened up new subjects for girls' manga, and as a result, girls' manga developed rapidly and gradually overtook juvenile manga. Riyoko Ikeda's "Rose of Versailles" was one of the most important manga for girls.

-Matured-

The 80s and 90s saw the maturation of Japanese manga. At this time, manga genres were diversified in terms of drawing style, subject matter and storyline, and major magazines had basically established their status and publishing direction, with each of their manga artists displaying his or her own abilities, resulting in a blossoming of the Japanese manga industry. Many manga peripheral products have been developed accordingly, such as toys and models. The Japanese manga business system has basically stabilized and formed a set of relatively perfect system.

Every year, Japan holds a variety of manga appreciation and manga touring exhibitions to show readers more excellent manga works as well as to explore and cultivate a new batch of manga talents. The publication of manga has evolved from newspapers and magazines to a variety of publishing formats, including rental editions, one-volume editions, full one-volume editions, hardcover editions, and Bunko editions.

Today, although the rapid development of animation and games has brought some influence to the manga industry, with more and more new manga artists joining the industry, Japan's manga industry will still thrive, and continue to create more excellent and wonderful manga works for readers who love Japanese-style manga.

[edit]The rise of new comics in China

Mainland comics

New comics are not native to China, but the term is original to China, and the comics that everyone is familiar with can be broadly categorized as new comics and satirical comics.

Overseas new comics came to mainland China in 1981, but there wasn't much of an Internet back then, and not a single Chinese person had a clear idea of what new comics actually were.

I'd like to single out four anime that have had a big impact in China: "Saint Seiya," "Dragon Ball," "Slam Dunk," and "Detective Conan. They are all works based on mainstream juvenile new manga, and the original writers are Mr. Masami Kuruta, Mr. Akira Toriyama, Mr. Yuuhiko Inoue, and Mr. Gosho Aoyama respectively. With the development of Japanese new manga for almost a century, juvenile new manga has undoubtedly become the mainstream of new manga. Junior manga is all about positivity, and the protagonists are all very simple, and have a lot of room to grow, with the occasional alternative. (I'm going to go out on a limb here and say that Naniwa Kenshin is a new manga for teenagers, not youth, as you can tell by the type of magazines it's serialized in. But the anime based on it that changed, Wavecatcher Kenshin Memoriam, is definitely a young adult anime and is not suitable for children.) With the anime I cited I just want to point out that the term "anime" is problematic. Regardless of the fact that it means manga and not new manga, all popular anime are adapted from new manga that are popular in their own right, which means that anime doesn't exist without new manga, which is the foundation. I've never watched an anime that was original but could be called a classic , even if it was "cowboy bebop" "evangelion" (there is no original for "evangelion", the original author of this entry is talking about the original being a later spin-off manga version of the original, and the idea for "evangelion" was created by Hideaki Umuya (the director) after watching a TV program that introduced the fetus's connection to the mother's (the idea for evangelion was born when Hideaki Umiya (the director) watched a TV program about a fetus connecting to the mother's body) There are also originals, but the original new manga was suppressed by the anime, but without the originals, cowboy bebop and evangelion wouldn't have existed. I've heard that it seems (it doesn't seem) that Gundam is original, but I haven't read it, sorry, I've only read Gundam Seed, and after reading it, I felt that it wasn't as atmospheric as I thought it would be, simply put, it's just not very good. (Correction to the author, Gundam Seed is the so-called New Gundam, which is disagreed with by many Gundam fans, and is the beginning (right?) of Gundam's move towards femininity (the source of the rotting women's YA) and commercialization (entertaining to cater to the tastes of the younger generation), but it's also the beginning (right?) of the new manga. It's the beginning of the commercialization of Gundam. Of course, it's not good, the old Gundam was a very grand and noble one)............. But if the Gundam series is original, then it's the only original classic in all of anime, and there's no other (still corrected, there are a lot of original movies, though low in percentage, like Forget Zamudo, Rurusu, Kuro no Kyojin, etc.).

Taiwanese comics

Taiwanese comics were published in the early 1900s under Japanese rule, and like Taiwanese literature during that time, they were influenced by the imperial culture. The only Taiwanese cartoonists who became famous in the early 1930s, including Chen Dingguo, Wang Zhaogi, Chen Guangxi, and Hsu Bingding, were under Japanese rule, but their creations had a strong sense of the local community and were rich in authentic local colors. According to Hong Delin, the first Taiwanese cartoonist to publish a book was Chen Binghuang, who created the Chicken Cage Sheng Cartoon Collection in 1954. According to Li Elucidation, the history of cartooning in Taiwan is initially divided into:

(1) The budding period: 1945-1949, with Chen Binghuang and the members of the New Gao Cartoon Group, who published the monthly magazine Xinxin, as well as the four editors, Chen Jiapeng, Wang Hua, Yeh Hongjia, and Hong Chao Ming, and the writers of cartoon columns, including the pen names of Chen Tingguo, Liang Ziyi, and Hua Wang'er, etc. These writers are the first generation of Taiwanese cartoonists, and this period is also the time when Taiwan was the first to publish cartoons, with the first generation of cartoonists. The first generation of cartoonists, and the masterpieces of this period also include: cartoonist Dynasty Zong created the "Water Margin" for the first comic book after the restoration of Taiwan. 1949 after the February 28th incident, Taiwan cartoons were also silent.

(2) Prosperous period: 1946-1960, the former cartoonists who moved to Taiwan with the Central Government of the Kuomintang, such as Liang Yiming and Liang Zhongming, brought various kinds of cartoons, and also started the first cross-strait cartoon exchanges. During this period, the Central Daily News, the New Life Newspaper, and the Rizhixin Newspaper provided a large number of newspaper caricatures commenting on current affairs in their respective pages: political cartoonists such as Zhu Xiaoqiu, Lu Qingxiang, Youxin, Yawen, Binren, and Ma De's drawings reflected the social background of the time. In addition, Zhang Youwei's four-panel unit "History of Liu Lang's Struggle" was autobiographical, Liao Weilin's "Biography of Mr. Mimi," Niu's "Little Sister Niu," and Chen Bow's "A-hua" were representative of children's cartoons at the time. As for the popular comic strips such as Chen Haihong's The Little Warrior Tornado, Yeh Hongjia's Zhuge Si Lang, Chen Dingguo's Lv Sieniang, Liu Xingqin's Ah Sange, and Dajiaobo, the golden age of comic strips was created in an unprecedented period of time. The cartoonists born in the later part of this era included Lin Wenyi, Hong Yinan, Xu Songshan, You Longhui, and Yang Jinshi, who continued to promote the creation of children's cartoons.

(3) The Period of Mourning and Decadence: From 1961 to 1981, as the comic book editions of the Central and New Life Newspapers ceased publication one after another in 1952, the trend of reprinting foreign comics replaced the local review comics. Although this introduced an international view of Taiwanese comics, it also indirectly impacted the creative field of local comics publication. In addition, the National Compilation and Translation Center's 1963 cartoon censorship system has been most criticized and disputed by previous generations of cartoonists, especially with regard to pirated Japanese cartoons and envious cultural transplants and market orientation, and even the impact on culture and education, which has been the biggest worry for quality cartoons to this day.

(4) Transitional Period: 1974-1982, the main features of this period were the handling of cartoon promotion activities and international exchanges of cartoon culture. The former was exemplified by the Contemporary Chinese Cartoon Exhibition organized by the Taipei City News Office in 1974, in which as many as eighty-nine cartoonists took part and as many as one hundred and fifty thousand people viewed the exhibition. In 1986, the Chinese Cartoonists Association accepted the recommendation of the Asian Society of America to organize a one-month visit to the United States for cartoon exchanges, and the Cousin Li and International Cartoon Contest sponsored by the Information Bureau of the Executive Yuan in 1987 opened up a precedent for domestic and international exchanges among cartoonists. It is worth noting that cartoon periodicals of this period, such as Cartoon Theater, Crown Cartoon Weekly, Joyful Cartoon Semi-Monthly, Burger Cartoon, and Cartoon Jaguar, all provided local cartoonists with a lot of publication space in the form of columns or comic strips. Cartoonists who published children's comics during this period, such as Qiu Ruoshan, Qiu Ruolong, Sun Jiayu, Ao Youxiang, Mai Renjie, Hong Delin, Liu Xingqin, Zheng Yaling, Liu Zongming, Wang Jinxuan, Wang Ping, and Wang Jinxuan, had already made a name for themselves.

(5) Maturity: (1983-) The main features of this period include the diversification of comics and the popularity of comic strips, the study of comics theory, the training and rewarding of comics talents, and the international outlook, and the establishment of the Taipei Municipal Library in 1998, which was the first public **** library to feature comics as a feature of its collection.